“Gone are the days when an artist says, ‘This is the only thing I do’. I believe you should do all of these different things.” So says B3-meister Brian Charette, who has worked in the jazz mainstream but also explored its edges, creating a trio which dips into synth programming, audio collage and electronics – all of which puts him more in the post-rock camp. “So in Switzerland, where the audience is very into avant-garde, we might play more electronics; in New York City, a little more bebop.” This album features a bit of both tendencies – a dash of Switzerland for every spoonful of NYC. The 10 cuts are standards and classics by the likes of Ornette Coleman (‘The Blessing’), Bud Powell (‘Dance of the Infidels’) and Richard Rodgers (‘Spring Is Here’), but they’re performed by an organ-piano-drums trio capable of more cutting-edge endeavours. Overall, I wish there was more of the Swiss tendency on show here. I’m not a huge fan of the clipped sound of the B3 when it’s playing lead instrument, so my favourite tracks are the ones where the organ does the atmospherics, taking the secondary role to Henry Hey’s piano (there’s a lovely such passage in the group’s take on Billy Strayhorn’s ‘Chelsea Bridge’). Still, it’s high-order work mining an interesting, somewhat neglected seam.